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'''The Sixth Sense''' is a block-buster film directed by [[M. Night Shyamalan]], about a child psychologist who tries to help a child troubled by his mysterious ability to "see dead people all the time".  The film was rated PG-13 for intense thematic material and violent images.   

'''The Sixth Sense''' is a block-buster film directed by [[M. Night Shyamalan]], about a child psychologist who tries to help a child troubled by his mysterious ability to "see dead people all the time".  The film was rated PG-13 for intense thematic material and violent images.   

This supernatural thriller begins with Philadelphia psychologist Malcolm Crowe getting tipsy with his wife Anna and making light of an award bestowed upon him by the mayor's office for his outstanding work with children. Upstairs, they discover a break in, and Crowe sees a terribly skinny young man clad only in gray briefs, who complains that the doctor has misdiagnosed him ("possible mood disorder") and forgotten him. Crowe takes a moment and remembers former patient Vincent Gray and his good points, but Vincent rages, "You failed me!" and shoots Crowe with a small pistol. Then he turns his gun on himself.

This supernatural thriller begins with Philadelphia psychologist Malcolm Crowe getting tipsy with his wife Anna and making light of an award bestowed upon him by the mayor's office for his outstanding work with children. Upstairs, they discover a break in, and Crowe sees a terribly skinny young man clad only in gray briefs, who complains that the doctor has misdiagnosed him ("possible mood disorder") and forgotten him. Crowe takes a moment and remembers former patient Vincent Grey and his good points, but Vincent rages, "You failed me!" and shoots Crowe with a small pistol. Then he turns his gun on himself.

From this point on in the movie, Crowe has no more conversations with adults; he does speak to a number of people, but it easily escapes the notice of the viewer that they never reply. Looking back, one can see all sorts of moments which hint at the reason for this, but on first viewing they merely seem to reflect things like self-doubt or a relationship inexplicably becoming distant.

From this point on in the movie, Crowe has no more conversations with adults; he does speak to a number of people, but it easily escapes the notice of the viewer that they never reply. Looking back, one can see all sorts of moments which hint at the reason for this, but on first viewing they merely seem to reflect things like self-doubt or a relationship inexplicably becoming distant.

Our next view of Dr. Crowe finds him seated on a bench with notes and briefcase, reviewing notes on a 9-year-old boy named Cole Sear, who has a diagnosis similar to that of Vincent Gray. He follows Cole to a church, introduces himself, and apologizes for missing his "appointment".

Our next view of Dr. Crowe finds him seated on a bench with notes and briefcase, reviewing notes on a 9-year-old boy named Cole Sear, who has a diagnosis similar to that of Vincent Grey. He follows Cole to a church, introduces himself, and apologizes for missing his "appointment".

In the following scene we meet Cole's divorced mother, hastily dressing as she prepares to send Cole off to school. After leaving the kitchen for a moment to fetch a tie for Cole, she is astonished to find most of the cabinet doors and drawers open with Cole still seated at the breakfast table. (This brings to mind the typical reasoning of atheists: if the [[fossil record]] appears to show that human beings and animals evolved from other forms of life, then it must be a purely natural process; no supernatural being could have done it (since the supernatural is merely an ignorant myth). Cole must have been looking for something (it couldn't be ghosts, no matter how unlikely it is that a boy could get up, open a dozen doors and drawers, and get back in his seat without even breathing hard or breaking a sweat).

In the following scene we meet Cole's divorced mother, hastily dressing as she prepares to send Cole off to school. After leaving the kitchen for a moment to fetch a tie for Cole, she is astonished to find most of the cabinet doors and drawers open with Cole still seated at the breakfast table. (This brings to mind the typical reasoning of atheists: if the [[fossil record]] appears to show that human beings and animals evolved from other forms of life, then it must be a purely natural process; no supernatural being could have done it (since the supernatural is merely an ignorant myth). Cole must have been looking for something (it couldn't be ghosts, no matter how unlikely it is that a boy could get up, open a dozen doors and drawers, and get back in his seat without even breathing hard or breaking a sweat).

Cole says, "You're nice, but you can't help me."

Cole says, "You're nice, but you can't help me."

Crowe shows up at an elegant restaurant where Anna has finished eating alone. He sits down, says he just can't keep track of time. He starts talking about his new patient, how he's similar to Gray, about his doubts. He apologizes for seeming distant, tries to pick up the check. She signs, glances up, says, "Happy anniversary", and leaves without another word.

Crowe shows up at an elegant restaurant where Anna has finished eating alone. He sits down, says he just can't keep track of time. He starts talking about his new patient, how he's similar to Grey, about his doubts. He apologizes for seeming distant, tries to pick up the check. She signs, glances up, says, "Happy anniversary", and leaves without another word.

Crowe and Cole talk with each other while strolling through the neighborhood. They also meet indoors, where Cole comments on the number of questions the doctor asked about Cole's father. Crowe still does not know Cole's secret, and mentions free association. Cole had once filled a page with angry words and left it where his mother could find it.

Crowe and Cole talk with each other while strolling through the neighborhood. They also meet indoors, where Cole comments on the number of questions the doctor asked about Cole's father. Crowe still does not know Cole's secret, and mentions free association. Cole had once filled a page with angry words and left it where his mother could find it.

Cole's mother uncovers scares on her son's back as she puts him to bed. He wakes up, rushes surreptitiously to the bathroom through the suddenly chilly hallway, and enters the kitchen. "Mom?" he calls. The woman turns around, and she has a red mark on her face. She speaks as if addressing her husband who had beaten her and displays her wrists with scars as of having cut her wrists to commit suicide. She yells, "Now you can't hurt me any more!"

Cole's mother uncovers scares on her son's back as she puts him to bed. He wakes up, rushes surreptitiously to the bathroom through the suddenly chilly hallway, and enters the kitchen. "Mom?" he calls. The woman turns around, and she has a red mark on her face. She speaks as if addressing her husband who had beaten her and displays her wrists with scars as of having cut her wrists to commit suicide. She yells, "Now you can't hurt me any more!"

Crowe tells Cole he can't be his doctor any more. Cole says he's the only one who can help him but, "How can you help me if you don't believe me?" In a turnabout that's not entirely clear, Crowe decides to believe Cole and makes his first helpful suggestion: the way to make the dead people go away is to listen to them, because even the angry ones just want help. So the next time Cole sees a ghost (a little girl) he says, "Do you want to tell me something?"

Crowe tells Cole he can't be his doctor any more. Cole says he's the only one who can help him but, "How can you help me if you don't believe me?" Crowe reviews an audiotape of a session with Vincent Grey, when he left the room to take a phone call. Turning up the volume, he hears through the static, "Yo no quiero morir." (I don't want to die.) And it's not Vincent's voice.

 

After this, Crowe decides to believe Cole and makes his first helpful suggestion: the way to make the dead people go away is to listen to them, because even the angry ones just want help. So the next time Cole sees a ghost (a little girl) he says, "Do you want to tell me something?"

Color is a constant theme of the movie, with trees filled with lush green leavess contrasting with piles of brown leaves on the ground in the fall. Cole barely manages to open the heavy red door of a church (red is used throughout to indicate the supernatural).<ref>"Red is an important color in this film. It is used to underscore important links to the supernatural. Red in our culture is a symbol of blood, and hence, death.  It is also a bright color that pulls the eye. It underscores.  Shyamalan gives it a spiritual connection as well." [http://hollywoodjesus.com/sixth_sense.htm] </ref>

Color is a constant theme of the movie, with trees filled with lush green leavess contrasting with piles of brown leaves on the ground in the fall. Cole barely manages to open the heavy red door of a church (red is used throughout to indicate the supernatural).<ref>"Red is an important color in this film. It is used to underscore important links to the supernatural. Red in our culture is a symbol of blood, and hence, death.  It is also a bright color that pulls the eye. It underscores.  Shyamalan gives it a spiritual connection as well." [http://hollywoodjesus.com/sixth_sense.htm] </ref>